We are very proud to release the next installment in our brass series; a six player Trombone ensemble, complete with seven mic positions, to continue the venture of creating a series with the same controllable sonic environment/soundscape as you would have in a film scoring session.

There are seven mic positions, carefully set to cover a very broad sound-scape, recorded chords, fast and normal legato with multiple dynamic layers (true sampled sustains and intervals), release samples, staccato (16 variations per note) and more...

Mix between the perspectives; Decca tree sides and mid, flanks, room, woodwind spots (see more about this below!), close ribbons and close LDCs, with the flexibility aimed at replicating a real scoring session. Now you have control over the different mic and perspective levels in the session, enabling you to morph your own sound in your scores, as if you were at the studio with the console at your fingertips.

You might have noticed that one of the perspectives included is "woodwind spots". While this is not a woodwind library, the mics that spot the woodwinds were set up and included in the recording. The reason for this, is that a lot of the brass sound bleeds heavily into the woodwind mics in scoring sessions, adding to the perceived depth of the sound, so whilst pushing to achieve the most versatile, we felt that this absolutely had to be included.

The instrument comes with two true legato modes - a normal slurred legato, and a fast legato, for faster passages,which will allow you to play virtuoso runs and scale passages.

We recorded major and minor chords in various positions, as well as open fifths (combined gives you the ability to also create MAJ7, min7 and other chords... for the reason that each note has it's own little space in the sonic field, and it is this separation that is one of the major things we miss from a real recording, and a track with layer upon layer of samples. With this instrument, you can achieve that real spacious sound.

Berlin Woodwinds Expansion B is the official continuation of the Berlin Woodwinds main library (although you can own the expansion without having the main Berlin Woodwinds library!). These instruments are specifically designed for expressive solo passages and to bring a single instrument to the front of the orchestra.

Big room vs. small booth?

We are sure that both locations have their benefits. Samples recorded at the big Teldex Stage blend very well with other orchestral instruments. The Berlin Woodwinds main library especially has its strengths when it comes to ensemble writing or when a full orchestra plays with the woodwinds. Doubling with other instruments just works amazingly well.

Smaller rooms support the details of the sound but they lack when writing for ensembles and in blending ability. It feels like you are much closer to the instrument. This is why legato transitions often appear more expressive and intimate if you play a solo line. And that is exactly what we are looking for when writing a solo part.

To keep it short: We try to use the best of both worlds.

For a more solistic writing we developed this Expansion B.

It really breathes life into your solo passages and extends the BWW main library in a wonderful way.

Legato Styles:

- Expressive Legato

- Fast, agile Legato

- Retongued Legato

Our newly developed adaptive legato script chooses the most convincing legato transitions, based on your playing in real time (speed and velocity).

A single velocity layer for the highest expressiveness

Instead of recording fixed p, mf, f layers, we told the musicians to feel free to choose the best dynamic for a solo part. We took care about lively, dynamic long notes in different styles.

If you play with higher velocity, the instrument will play a subtle crescendo, if you play softer the instrument tends more towards a slight decrescendo. The new adaptive legato script analyzes what is going on dynamically and adjusts the legato transitions to glue them to to the current sustain

as nicely as possible.

By using a single velocity layer, we reduced any phasing effect to a minimum.

SYMPHONY SERIES – STRING ENSEMBLE is the lush, detailed sound of a 60-piece string ensemble in an elegant, immediately-useable interface.

ABOUT THE SYMPHONY SERIES

The Symphony Series is a growing range of high-end tools created for professional scoring and delivering maximum quality and flexibility. With elegant interfaces and seamless KOMPLETE KONTROL S-Series integration, these advanced, dynamic instruments come to life under your fingertips for fast, inspired scoring.

We are proud to present Octohorn, the first release from our brass series, with an eight-player French Horn ensemble, boasting no less then seven mic positions, with the aims of giving you absolute and ultimate control over your soundscape.

This instrument was created with the intentions of producing something in a completely new league of sonic sculpt-ability, able to sit in a track with the depth and spread of a real ensemble recording. We have achieved this through multiple new and innovative features, including the seven mic positions, carefully set to cover the whole soundscape, recorded chords and octaves to minimize "sample layering" in tracks, which kills the depth of a track, and much more...

Mix between the perspectives; Decca tree sides and mid, flanks, room, woodwind spots (see more about this below!), close ribbons and close LDCs, with the flexibility aimed at replicating a real scoring session. Now you have control over the different mic and perspective levels in the session, enabling you to morph your own sound in your scores, as if you were at the studio with the console at your fingertips.

You might have noticed that one of the perspectives included is "woodwind spots". While this is not a woodwind library, the mics that spot the woodwinds were set up and included in the recording. The reason for this, is that a lot of the brass sound bleeds heavily into the woodwind mics in scoring sessions, adding

Staccato - Short notes, with up to 5RR per dynamic layer (three layers)

Three True-sampled Legato Styles

The instrument comes with three true legato modes - a normal slurred legato, a sample octave legato, and a fast legato, for faster passages,which will allow you to play virtuoso runs and scale passages.

The reason we included octave sustains and legato, is because when you play octaves by layering the same instrument twice, what you are hearing is no longer a real octave passage, but two sets of the exact same horns, in the exact same position, layered on top of one another. When an ensemble plays real octave, every note has it's own sonic space and position in hall, and therefore in the perceived depth/stereo field, and you lose this by layering samples. For this reason, we recorded octave sustains and legato specially for a completely true and real sound.

Not only did we just record the octaves, we recorded major and minor chords in various positions, as well as open fifths (combined gives you the ability to also create MAJ7, min7 and other chords... again for the reason that each note has it's own little space in the sonic field, and it is this separation that is one of the major things we miss from a real recording, and a track with layer upon layer of samples. With this instrument, you can achieve that real spacious sound.

With an instrument as diverse, capable, and exposed as the violin, there is no cutting corners, so we strived to capture as much of the possible sounds a violin can make as possible, resulting in the huge list of articulations you can see below, as well as four sampled legato styles, also shown below. We even specially sampled slurred and bowed legato so you can correctly and realistically phrase passages, and a specially sampled "fast legato" set of intervals, which will allow you to play virtuosic runs and scale passages.

On top of this, we want our instruments to be as close in sonic-flexibility to a real situation as they can be, so in addition to providing close and stage mic positions, we have also made sure to have both a ribbon and condenser mic, which you can choose to switch between. Both sounds offer so much in their own right, the ribbon having a beautiful smooth tone, and the condenser being ruthless in exposing every little detail in the sound.

The stereo mic position can be widened and narrowed by dragging the mics in the interface.

A Little More About How it Works

We wanted to make this instrument even more musical, so we have once again used our idea of the "phrase builder", which allows you to select the attack, or beginning sound of a phrase, and then switch around the type of legato throughout a musical phrase.

One huge give-away that an instrument is a sampled one and not a real instrument is how the beginning of every musical phrase sounds the same. A great performer will not sound like this. They will vary the phrase beginnings, and perhaps start some quietly, some with an FP, some with a stutter, and so we have included five options for this, to ensure that your compositions sound evolving, musical, and extremely convincing.

The width of the stereo mic perspective can be changed by dragging the bottom pair of microphones in the interface, and dynamics can be brought up and down by either the mod wheel or expression Midi CC - depending on whether you have MOD or EXP selected in the bottom right hand corner of the instrument GUI, and the shorts' dynamics are controlled by velocity.

Welcome to SYMPHONY SERIES – BRASS SOLO. State-of-the-art recordings deliver unparalleled sonic depth and realism. An uncluttered and elegant interface accelerates any workflow. And flawless KOMPLETE KONTROL S-Series integration immediately puts key parameters under your fingertips. Created for the professional composer, SYMPHONY SERIES sets a new standard in orchestral scoring.

Like BRASS ENSEMBLE, SYMPHONY SERIES – BRASS SOLO was produced in cooperation with Soundiron.

TOP-CLASS RECORDINGS

Like BRASS ENSEMBLE, BRASS SOLO was recorded at Saint Paul’s Church in San Francisco. BRASS SOLO captures the sound of world-class lead trumpet, trombone, first and second horn, and tuba soloists.

Breathtaking post-sustains were achieved by recording two samples instead of the normal three for onset, sustain, and end of note – harder to recreate in software, but infinitely more realistic. All possible intervals were recorded for truly fluid legato performances, and meticulous mic positioning captures the most favorable reflections for solo instruments. The result: 94 fully-playable chromatic articulations and 26 banks of special effect articulations. So real, it’s like conducting the players themselves

SYMPHONY SERIES – BRASS SOLO adapts to any workflow. Assign articulations to key switches quickly and easily – all articulation types are color-coded for fast visual recognition (mirrored in detail on the KOMPLETE KONTROL S-Series keyboards). To accommodate different composer workflows, the interface provides three options for switching articulations: MIDI note, velocity range, or MIDI CC messages. If required, you can even assign each section to a specific key range to create custom key splits for a particular composition

DETAILED MIX OPTIONS

Open up the mixer to mix the perfect blend of close, mid, and far mics. With individual loading, volume, pan and output routing for each position, you have full control over your mix – plus a range of effect options. All mixer settings can be stored, and easily recalled for other NKIs

Welcome to SYMPHONY SERIES – BRASS SOLO. State-of-the-art recordings deliver unparalleled sonic depth and realism. An uncluttered and elegant interface accelerates any workflow. And flawless KOMPLETE KONTROL S-Series integration immediately puts key parameters under your fingertips. Created for the professional composer, SYMPHONY SERIES sets a new standard in orchestral scoring.

Like BRASS ENSEMBLE, SYMPHONY SERIES – BRASS SOLO was produced in cooperation with Soundiron.

TOP-CLASS RECORDINGS

Like BRASS ENSEMBLE, BRASS SOLO was recorded at Saint Paul’s Church in San Francisco. BRASS SOLO captures the sound of world-class lead trumpet, trombone, first and second horn, and tuba soloists.

Breathtaking post-sustains were achieved by recording two samples instead of the normal three for onset, sustain, and end of note – harder to recreate in software, but infinitely more realistic. All possible intervals were recorded for truly fluid legato performances, and meticulous mic positioning captures the most favorable reflections for solo instruments. The result: 94 fully-playable chromatic articulations and 26 banks of special effect articulations. So real, it’s like conducting the players themselves

SYMPHONY SERIES – BRASS SOLO adapts to any workflow. Assign articulations to key switches quickly and easily – all articulation types are color-coded for fast visual recognition (mirrored in detail on the KOMPLETE KONTROL S-Series keyboards). To accommodate different composer workflows, the interface provides three options for switching articulations: MIDI note, velocity range, or MIDI CC messages. If required, you can even assign each section to a specific key range to create custom key splits for a particular composition

DETAILED MIX OPTIONS

Open up the mixer to mix the perfect blend of close, mid, and far mics. With individual loading, volume, pan and output routing for each position, you have full control over your mix – plus a range of effect options. All mixer settings can be stored, and easily recalled for other NKIs

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